22T 6 | Archie And Sizzle


On the love month special of The 22Tango Show, Linda Sutton features the work of Archie and Sizzle, two musicians, singers, songwriters, and MC’s that have been creating and making music for over 15 years and began focusing on creating Kizomba, Ghetto Zouk, Brazilian Zouk, and Afro Rhythms in 2014. She brings them on to talk about their work’s philosophy and explore the elements of music and the environment as they create music for dance. Archie and Sizzle also talk about their background as solo artists and share the story of how they began collaborating and making music together.

Watch the episode here:

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The Anatomy Of A “Tango”: Exploring The Elements Of Environment And Music With Archie And Sizzle

I am excited to be bringing to you one of the hottest international music groups on the scene. Archie & Sizzle are the bomb. One of the reasons why I wanted to have them on the show, other than their brilliant kizomba, zouk and Afro rhythm artist is their philosophy behind their music. How I first got introduced to Archie & Sizzle or A&S as they like to call themselves is I was listening to one of my favorite DJs, DJ Art. He does a weekly online session. There was one song that he had featured multiple times and it was called Red Dress. That song got my attention and it made me want to explore their work even more.

As I dove into their body of work and got intimately familiar with their lyrics, it made me want to talk with them even more. Archie & Sizzle were two artists who had solo musical careers prior to becoming A&S, as solo artists who started in hip-hop and R&B during their teenage years, they began to be involved not only as music producers, rappers, singers and DJs but most notably, they liked to call themselves performers. Both after having an opportunity to connect with one another randomly at social events, began to collaborate together. As a result, we see Archie & Sizzle who are involved in the international scene of kizomba, zouk and Afro rhythms. We are going to be excited to talk to them about their music and perhaps have them curate a little bit of us to get us ready for our love month theme here on the show.

Welcome to the show. It is exciting to have Archie & Sizzle here. They are the bomb. Welcome to the show, gentlemen.

Thank you. This is good to be here. We are excited. What’s going on with people?

As I told them in the open of the show, you two are some of the hottest artists in the kizomba, zouk, Afro rhythm and international Latin scene. It is exciting to have you here as a part of our love month special and featuring your work. The one thing that I want to make sure that we focus on is looking below the hood in terms of your philosophy because that is what fascinates me most about your work and it’s of course the most appropriate on the show. Let’s start because you guys have gone from hot and sizzling, sultry and sexy. You’re there now but you started more in the hip-hop and R&B scene as solo artists before you became a group. Let’s talk about that and give the audience a heads up on your background before Archie & Sizzle.

It’s cool because we both have been doing music for such a long period of time. So much so that Sizzle was doing music when he was Lil Sizzle. All these Lils whenever they became Lil and all of a sudden, they grow up and they take Lil off of it. The only person that I know still with Lil on is Lil Wayne. He was doing music when he was Lil Sizzle and when we started doing music together, he took off the Lil and he just was Sizzle. One day I was like, “You should take the Lil off of Sizzle and just be Sizzle.”

I dropped the Lil before we did.

I don’t know if I knew that but I think I remember I was like, in my head, “I hope he takes off the Lil in the Sizzle.” We do our music separately. He started then and I was doing music. I started doing DJ when I was fifteen and started creating original music when I was eighteen. We both grew up in Houston in the same hip-hop scene. Naturally, we ran into one another at gigs. If we were doing the same gigs in Houston, a lot of us use the same engineers within Houston. We ran into each other a lot then. We were on some of the same projects before as well.

There’s beauty in creating music from the perspective of a dancer and not only a musician. Click To Tweet

I’ve been using the same engineer since I was sixteen. He’s the same guy who produces our stuff now, which is crazy.

We ran into each other then and then outside of that, one night, I was out at a Latin spot dancing salsa and bachata. I saw him and I was like, “I did not know that you dance salsa and bachata.” He was like, “I didn’t know you dance salsa and bachata.” That turned into us weekly, almost daily taking road trips. Houston is dope because there’s the ability to dance every single night of the week. The only day we took off was Mondays.

It was like Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday, we would meet up at this spot on our side of town and then we would hop in one another’s car and one of us would drive all the way up to the spot. We danced every single night for six months straight. We’re not exaggerating. We can’t make this up. This is what happened. We got to know each other a lot better. We became cool. We both were not married at the time and I don’t even think you knew who your wife was. I didn’t know Sophia at the time at all either. That’s how long ago it was. After all that happened, we found kizomba, we started dancing to it. Two months into kizomba we are like, “We should release a song,” and then we didn’t.

I always say that to people to tell them that we weren’t like, “We’re about to make kizomba music,” and pushing it and will blow up in the kizomba scene. Six to seven months passed and then I was like, “We were going to make a kizomba song.” After that, we put out Worth It All in 2014, which was our first kizomba song that we ever put out and it blew up. It took off. After that, we did Paradise and No More with our homie, P. Lowe, who lives in Boston. From there, we kept on pushing music and a lot of people from around the world started to gravitate towards it and started to love dancing to it, loved the message behind it and everything like that.

I love that about you all story because to know the backstory from the place of, even though you were both musicians, that the way that you connected was going out to all the dance spots and then after the fact we are like, “I guess we should do some music related to this.” That’s profound because number one it is wonderful to know that story but also, I think what it does is sets the stage for what makes you all resonate with people so much because you both are prolific dancers first and foremost and then you have the background of music. You have a real intimate relationship with the dance itself and all the nuances and what it takes to connect and what it takes to be with a partner and all the cultural and social dynamics that happen on a dance scene that you’re bringing that plus your many years of experience of music all to come to bear at this moment in time. That’s profound.

The music is important. I always tell people even when it comes to leading and following, I say this to point out the importance of the music and the dance is the lead is listening intently to the music and the follow is listening intently to the music through the lead. It’s like if you’re able to do that to connect to the music, the only difference is the leader is leading while listening to the music and the follower isn’t just, “If I’m following, I’m not simply listening to the lead,” but rather I’m listening to the music through the lead.

It’s funny that you said that it’s right on time because the readers will read a couple of episodes before this episode on leading and following. They’ll get a deep dive on what it means to lead and what it means to follow, not only through tango but of course in any partner dance. Let’s go there. Number one, that level of sensitivity, every musician that makes music for dance doesn’t necessarily understand that level of mastery, that connection between the two people, the couple and the music, the different roles they play, the environment.

Let’s talk about how that because you speak to healthy relationships. I’ll give you a moment to speak to that. How does that inform all of the nuances of your music because if you went there, we are going to go there then? If you’re talking about, the man is leading but he’s listening to the music and then the woman, I’m a follower, is experiencing music, not only through her ears but through her leader’s body, how does that inform the music that you create?

22T 6 | Archie And Sizzle

Archie And Sizzle: In dance, the lead intently listens to the music, and the follow listens to the music through the lead.


What both of you guys said gave me a little bit of an illustration. I think of creating music for dance as if you’re creating a coloring book without color. The lead is the one who colors in the lines and the follower is complimenting them, drawing along with them. I don’t know if when we’re creating that to create in a way that we know that we can create space and freedom for the dancers to have creativity on their own as they’re dancing because I know as dancers and people who listen closely to musicality is extremely important is that you’re always listening for something to almost impress your follower.

It was like, “You don’t see this coming but I know this was coming.” It’s like if you know the song, you’re like, “We’re going to dance.” You know this part is coming up and you’re going, “I’ll do this right here.” She’s not going to notice because she doesn’t know the song. It’s important to create that within the music you make. Us knowing that and practicing that as dancers and as well in the music, that’s why whenever we’re mixing, we put in the little sounds here, there and it’s not just randomly. It’s specifically a place for people who are listening to those sounds.

It’s the details. One of my favorite things to see is I’ll watch, for example and this is more on the Brazilian zouk side of things but we have a song called Poison that has been danced to by every Brazilian zouker in the world. Every time I get tagged in a video, I’m like, “It’s going to be another song. It’s Poison.” I love it that they are dancing the Poison. That goes to my point that I can watch a bunch of different people dances differently to the same song that we produced and watch how they interpret their dance and what they’re hearing to the song and their dance.

This goes to show that every person, even though we are creating something as dancers that is giving the ability for somebody to create a little bit more freely than possibly somebody who doesn’t dance like a musician that doesn’t dance. Even in that, a person can hear a song and interpreted it in one way while another dancer can hear and interpreted it in a different way. I love watching that. Whenever it comes to how we create music, we created it and that was a beautiful analogy. As musicians, we hand you a coloring book that’s not colored in, it’s not finished. You take that and you color it. How many times do you give a coloring book to a bunch of middle school kids and you get the color books back and they all look completely different? It’s like that. It’s the beauty of art.

The DJs are the ones who color outside the lines.

I’m guilty because I’ll take that role as well. For us, that’s the beauty of being able to create music from the perspective of a dancer and not only a musician because I hear stuff and I’m not going to lie. Even sometimes I hear stuff now and in the middle of the COVID thing, I’m like, “I miss dancing so bad now.” I went from traveling because I’m deejaying as well. With deejaying, I would travel even if we weren’t going to performances. It wasn’t with me. I went from traveling almost four weekends a month to I hadn’t traveled in a year. Since February 2020, I haven’t even been on an airplane. I produce music and I’m just like, “I miss dance so bad,” because the things that the dancers love are all in the music.

There are many things that I want to pull out of what you all have said. I’m going to start with the thing that immediately came to mind, which is it’s beautiful that you not only facilitate the conversation because we always on the show talk about the dancing, especially with Tango because of the principles of it, that it’s a conversation. It’s a going back and forth. It’s funny that not only do you all facilitate the conversation of the dance but you also are a part of the conversation of the dance, which is powerful. I wanted to underscore and restate that but then you added the other element because when we talk about on this show, the anatomy of the tango, we talk about it in terms of the leader and the follower.

We talk about it in terms of the embrace, in terms of the principles, which are the rules that govern the roles and then we talk about the environment. When you said in the coloring book analogy that the dancers, the leader and the follower are coloring inside the lines but the DJ is the one that’s coloring outside of the lines, it made me think of that idea that we talk about here on this show, which is the environment. The DJ helping to set the stage. Because you DJ and emcee as well, what additional elements do you have to keep in mind as you not only DJ but even perhaps create music with the environment in mind? Can you speak to any of that?

With music, it’s extremely important to be transparent, open, honest, and real. Click To Tweet

I’ll speak on the plus and then I’ll speak to different things that it pushes me to create as far as elements of the song. One of the pluses is you have a firsthand view of what the people want. You can see, “This is what people are loving right now.” It gives you the ability to create without compromising what you would naturally create. You don’t want to be fake and be like, “I’m going to make this because this was what people want even though I would never make something like this,” but you see, “This is what people are liking so I will keep that in mind whenever I’m creating what I would naturally create.” It causes us to be able to push things and make stuff that might hit more of a vein in people. There are times where I’ll be like, “This is what people are feeling now. I’ll make something. This is what we need to do something to now because it will be what we’re feeling now.”

As far as creating music, it’s pushed me. We did something that we were doing before, regardless but it has pushed me to have a lot more space in our songs where there aren’t a lot of lyrics to where if we have a bridge, for example and the bridge is instrumental. This is something that I hated doing in the past but we release our instrumentals as well as the original. Even with our Fresh Music Fridays, you hear the original song with all the lyrics and then you also hear the instrumental. They’re both released. As a DJ, it’s cool from my perspective to be able to see the energy and the temperature of what’s taking place within the scene so then that way I can create music that will be able to push the veil in that realm.

Something I add to that too is something I noticed is that you can also see in the scene where you can make a song to fit strategically. For example, that time we say this on a certain instrumental or song that we make. This is one of those 3:00 AM songs. As soon as you hear the instrumental or whatever vibe you’re in, you are like, “This is something I would love to jam or dance to at this time of night.” These are songs. You could play it anytime during the day but there are certain songs that right at the right moment.

That is what makes you unique and also contributes to how prolific you are as international artists because to me, you are the musical representation of not only the elements that are in dance but the elements that are in relationships. I think that is profound. There are very few as a professional dancer who has worked with many artists, many musicians and many producers, there are some that stand out that have a unique gift that is different. It’s not just talent, it’s not just skill, it’s just a gift.

The fact that you all bring together the ability to have the understanding as dancers, the understanding as musicians and then something that we don’t often talk about, which is your understanding as community members. Your ability to see the whole community or the neighborhood and understand what’s going on in your hood and be able to create, think and be strategic with the whole in mind, not just, “This is what I like to do,” which you want to have that. “This is what I’d like to dance to with my partner but I’m also being considerate of the whole.” That is what puts you in the echelons of where you are in terms of the fact that you have that community view and that global view that you’re bringing to your music in terms of how people connect with one another.

Let’s go to the lyrics because we’ve been talking about the music and the elements there. We could talk all day and all night to me in terms of drawing the analogies. Don’t be scared to do that, drawing the analogies between how you see the work and the elements that you have and understand the answers because that’s what we try to do here on the show is always drawing that connection between the art and art is life. I wanted to get into the lyrics. I’ve told them at the top of the show the two songs that I most connected with you all, which was Red Dress, which is how I knew that it was you guys and before that was Water. As I started to explore your work because I decided, “I’m going to make my own music video of the Water. Would it be alright with it because it’s called me to lead the sensation?”

I stumbled upon this trilogy of yours that not only spoke to me but it’s what made me want to have you on the show? Because to me, what I understood that truly did represent to me, one of the core fundamental tenets of what I try to communicate in this show but through music and it was the three. It was Celestial, Just Us and Best Night Ever are the trilogy. You have created them as the trilogy speaking to the stages of a relationship. I’m going to let you take the floor on that because when I heard it, I was like, “I’ve got to talk to these gentlemen because if they’re creating music like this then it’s a game-changer.” Let’s talk about the backstory of what inspired that and what you’re trying to communicate through that trilogy.

It’s cool because I feel like, throughout our entire journey of music as Archie & Sizzle, one of our big points and big things that we talk about is relationships, the beauty of them and changing the viewpoint of how people view them. It can be easy nowadays for a lot of people to have a negative connotation towards relationships, simply because of whether it be hurt or people who’ve been through crappy relationships or what society portrays because society and the culture can spew on faithful solid relationships. Our entire career with one another has been that. In 2018, I got engaged. I got to put a ring on it. One of the things that I wanted to do was I was like, “I want to write a song for my fiancée,” which now is my wife, who I met on the dancefloor.

22T 6 | Archie And Sizzle

Archie And Sizzle: When creating music for dance, make sure you create space and freedom for the dancers to have creativity on their own as they’re dancing.


I ended up getting multiple beats that I fell in love with. As I was listening to the beats, the idea came to me that it would be cool to create a trilogy of songs that walk you through the beauty of the wedding day, the wedding night and then until forever. I was like, “It would be dope to create that.” I hit up our boy, Mykel who’s also on Red Dress. I was like, “He would be perfect for this trilogy. He was all about it.” I talked to Sizzle because I 100% need Sizzle to be on at least one of these songs. Sizzle was married. He got married before me, so I knew like, “He knows what I’m talking about. He’s not just going to making stuff up.”

He understands you.

He was on Just Us. It was like the wedding day. The chorus is, “This could be the night that you say I do.” The whole theme of the song is the day, the beauty of the day and all the details and everything that’s going through your brain and the nervousness but the excitement and how the excitement overpowers the nervousness and all of these things. We are in awe of the whole moment. The music video is amazing. The video is us in Boston in the freezing cold.

It fits because the snow is white, the wedding dress is white.

It’s a combination of our shots as well as actual video footage from my wedding. We wanted to capture that and then Best Night Ever is the honeymoon night. It’s cool because people will think about Best Night Ever, it’s 100% there yet. Best Night Ever is like the limousine to the hotel. It’s like talking to you about, “This is going to be the best night ever.” It’s explaining how I’m feeling and explaining the feelings that I’m having towards the person that I got married to. It’s letting that person know, “This is going to be the best night that you’ve ever had.” It’s that song and then the Celestial, which if you don’t know a celestial, it’s like space-type term and saying like, “Taking me to the star, taking me to the outer galaxy, all these different type things.”

It’s like this imagery of light, not only is this night and this moment taking me to this place of the galactic-type of emotion. It’s also taking me to this infinite place, understanding that even though there will be moments in our relationship in the future where we might popping and we might not agree on everything, we might have arguments and disagreements and we might have all these different things. That infinite feeling, even though it might be a little bit more distant, the fight for that feeling and the fight for that love is still there.

Celestial you’re points that out. Celestial is like the night in the actual period of time of the honeymoon night, as well as the future going forward. One of my best friends who heard the song, after she heard it, she was like, “Okay.” It was cool because we should have danced our first dance to Just Us and she was surprised because she had no idea about it. At the time, whenever we did the first dance, we practice a whole different song. Whenever the time came to do his dance, I grabbed the mic and I announced that I wrote a song for her and we danced Just Us.

That trilogy spoke to me without even knowing this entire backstory. You can be clear that what you’re trying to communicate and does speak across time and space. I’m not going to jump up and shout and give an amen corner on all that you said in terms of the relationship but we understand all of that. Thank you for sharing all of that.

As imperfect people, we constantly need to be reminded of things that we so easily forget. Click To Tweet

The one thing I love that you guys keep saying every time you say it, it makes me want to sit back in my seat in a different way is every time the two of you say that life and death are in the power of the tongue. The way that you say it and the intention that I can hear every time you all say it makes me sit back in my seat, that you understand the power of what you are speaking over people, that you’re speaking into people, that you’re speaking into their relationships but even more important that you also understand that you’re speaking into the atmosphere. That level of awareness, I’m going to throw the signs up to you all for that because I’m like, “These dudes better be understanding the metaphysical nature and everything.”

Every time you guys either say that or say something akin to that, it makes me sit back. The other piece of it that is going to be profound for my audiences is that you are gentlemen who are delivering this message. When you were talking about delivering that wedding day imagery, that’s usually reserved to most people think of bridal magazines and the women and they’re like, “The dress and the flowers.” To hear gentlemen share their perspective so openly and honestly, I don’t think people are used to hearing that in music, not at the level of detail that you’ve given. What gives you the courage to be that transparent in being willing to let your guard down as gentlemen to share these truths about what you’re thinking, what you’re feeling, the good, bad, ugly, indifferent and the vulnerable places? What gives you the courage to do that in your music and in your art?

We do this a lot in our music and we both believe it’s extremely important to be transparent, be open, be honest, be real and not like regular hip-hop, “I’m the realist.” It’s not that kind of real but the real real. The not-so-great real and stuff that you don’t want to talk about and sometimes you don’t want to think about it. There are a lot of different songs that have examples of stuff that we’ve done. I can’t even think of songs specifically but we’ve you set things and to answer your question, there are other people out there who are going through the exact same thing as me, as you or whoever. You don’t know all the time. You hear a lot of different artists but I think it’s important for an artist to express how they feel because when you’re looking for inspiration on what to write, what to talk about a lot of times, the first place we go is your own real-life and stuff that you feel or sometimes it’s something that close friends have gone through.

Maybe you were with a friend, they’re going through something deep and you’re like, “That sucks.” You give them advice but at the same time, you can also write about it and be like, “This is something somebody is going through. Maybe I should write something about this for other people out there in the world that went through the same thing.” It’s extremely important because we all like to relate to people and if we’re talking about COVID or something like that in a song.

We’ve mentioned something in there that we’re going through, like talking about a mask or something small as that, it instantly clicks like, “Yeah. I wear a mask. What is he saying next? This is a story of the mask. I was doing mask too.” It connects you with the audience to make them understand that you’re also a real person. It also connects into your music as well as like, “I can also relate to this person.” I’m out for this thing when I listen to other artists as well, if they say something and I’m like, “I feel the same way. I was never bold enough to say it or tell anybody about this thing but I’ve done the same thing.” I think it’s important for us too as well.

It is important for musicians and artists to create from a perspective or a place that they’re living in. Because this is how we live life and because we are raised in a way that caused us and blessed us to walk out our lives in the way that we are pertaining specifically to how we view relationships and how we treat the women that we’re with, we create music from that perspective. For me, to be honest with you, I don’t know if it’s a combination of that as well as I honestly couldn’t care less about if somebody thinks that I sound weak for talking about how much I love my girl. I’m like, “I don’t know if it’s a combination of those two things that make me not see it as being courageous.” I think it’s, “What should be normal?”

Society has done this thing that has caused it to seem like because a lot of times specifically, being real, for a lot of us young African-American people, specifically men growing up thinking like, “In order to be a man, you got to do this, you got to do that.” That’s not necessarily true. You don’t need to do this in order to be a man. I think that because of how a lot of us grew up or have because of how society has painted things, it has made it seem like it’s more courageous to do this when in actuality it should be what is normal. Whenever we create music, that is intentional and it’s no accident. We’re not just accidentally creating it. We’re intentionally going in that direction in order to specifically create something that is going to go against or go in a direction that is not necessarily going with the flow of what people are used to hearing because we feel like it’s real first and foremost to us but secondly because it’s important, healthy and it should be what is normal.

That’s what makes you multi-generational, multicultural, multi-country, multi-universe apparently according to you guys but I don’t know if you got some spaceships. That is what is powerful about your work and the fact that it is essential. I want to underscore that for my audience because I got to let them to the audience too. The fact that you are deliberately and intentionally through your music, redefining manhood. It’s more accurately saying realigning manhood or the definition of manhood back to what it should be of more than redefining it but more realigning it. That is powerful because we’re in a culture where music is having such an impact on young men. The fact that you all are deliberately creating music with a counter-message is extraordinary. I want to applaud you on that and I want to bring that to the forefront. That is a part of your longevity and will continue to be a part of your longevity.

22T 6 | Archie And Sizzle

Archie And Sizzle: A dancer can hear a song and interpret it in one way, while another can listen to it and interpret it differently.


It’s funny because you speak to the gentlemen but you don’t leave our ladies out because there are two other songs that I want to bring to the forefront that got my attention as I was doing my studies before I met you. Right off the top of my mind, one of the titles is Wish because the messaging in Wish stood out to me in terms of, I was like “Not only are they paving a stage for gentlemen to rethink how they hear relationships but also you’re speaking and breathing life into young ladies.” One of them was Wish. The song where you’re speaking to your future wife as a single man. It’s almost like a love letter to your future wife.

That was the first, Wish. We did Worth It All as well.

There were two of them and I apologize for mixing them up but both of them to me, the number one where you were speaking to your future wife was that you guys clearly have been in this mindset long before you were married. Both of you are married now but when I heard that, I was like, “He thought that life for real. These dudes were about their life before they were about their lives because they write love letters to their future wives. I’m in this dance scene. I’m here for this.” That got my attention and then not just talking positively within the relationships but the one in terms of understanding your value as a young woman, the fact that you as gentlemen are speaking over young women is some next level.

That’s a multi-dimensional messaging that you’re doing that is extremely unique. That you’re not only, “I can speak to my partner but I can also speak positively over women.” That’s something that’s simply not happening this day and age. What do you intend to do in that work and obviously, you’re speaking the message in your lyrics in terms of speaking positively over women but now that you have a platform, what would you like to say to young men and young women about that messaging that you have?

The first one, Worth It All, was our first song. The concept was to speak to women because a lot of times in the dance scene there tend to be more women than males. I noticed at least in Kizomba for sure. A lot of it was like, “We want to speak to women because a lot of them have insecurity issues. They’ve been in bad relationships, whichever. They had been broken down, beat down mentally and everything.” It’s good to have a song to build them up and like, “You’re worth it all. Don’t let anybody tell you that you’re anything less because you’re created beautifully and wonderfully made, you are worth everything that you deserve.”

We made Wish with the same mindset of coming back with another song, similar to Worth It All but in a different vein. We’re saying like, “I wish you understood how beautiful you are. I wish you saw yourself through my eyes,” because when a man sees a woman, they see them differently than how they see themselves. A lot of times we’re our worst enemies. We’re our biggest critics. It’s still for everybody, to be honest with you but this is the one that is specifically for women. “We wish you saw yourself as we saw you. We see you as beautiful as strong, independent,” but think about how we see ourselves all the time.

It’s like, “I see myself as weak.” We see our failures at times. When you see somebody else, you’re like, “They look amazing doing a thing over there. They got like 50,000 Instagram followers. They are looking good.” We see them through a different lens but then you see yourself, “I know what I did last night, all my insecurities, my doubts and the stuff that I’m not proud of.” That is the theme of the song is and I would like to continue that message no matter what our platform is. I would love to see those songs reach more people because our message still needs to be sent out.

It’s a message that never dies because people are constantly going through things that pull them into that state of mind, not only are new people constantly walking into this state of mind but as imperfect people, we constantly need to be reminded of things that we easily forget. I think that with Worth It All and with Wish specifically being geared towards encouraging women as a whole. I’ve got sisters, I have a mom, I have tons of aunts, tons of female cousins and tons of female friends. In any way, shape or form, you’re connected to any woman in your life at all. You hear stories, you see the heartache and you see the pain.

Music is an amazing vehicle to push a message to somebody in a way that hits them differently. Click To Tweet

Not only that but once again, going back to society, you see the image that society has painted that has caused a person’s mindset to be skewed a certain way whenever it comes to themselves or whenever it comes to what they feel like they’re worth. Maybe they’ve been involved in a relationship with a jerk who’s made them feel a certain way as well. It’s important. We’ve had people encourage us about songs but in my personal experience Worth It All has been the song that I’ve been most encouraged with by people from personal experience. A lot of women are coming to me and say, “That song specifically is a great song but that song got me through this.” If it wasn’t for that song, I wouldn’t be where I’m at personally in my life now.

That points and the fact that a lot of people are going through different things that will rebuttal the message that we’re trying to say in the music. That’s why it’s important to constantly remind people that music is such an amazing vehicle that gives you the ability to push a message to somebody in a way that hits them in such a different way. If you can push something as real and as life-changing, you need to understand that you’re worth it. I don’t know what anybody’s told you and you don’t know me from Adam but you need to understand that you’re worth it for real and you understand that. The music is delivering that to you. From us, in our art, we have no choice but to portray that through the music.

Back to linking this to dancing, a lot of dancers and we for one, go to dance events to escape from the realities of life and for our music to hit them at that whole time. They need to hear it. You can imagine a woman is in a bad relationship and like, “I want to go dance tonight with my girls.” She’s out there. She’s dancing. She is trying to get away and enjoying herself. She then hears the lyrics saying, “You’re Worth It All.” Maybe that’s what she needed to hear. When she goes back home, “Maybe I am better than this.”

We’ve been talking to pastors. Archie and Sizzle, the church of A&S.

I do want to point out a side note on a lighter note that which specifically, we both wrote that when we were single-ish and then Wish remix specifically me, you can hear the swagger. It feels much different than Wish remix in his version than it is in the first one. Back to your previous question earlier about talking about real life, that’s one of the examples, which was an example of talking about we were at one point in our life during the first version of that song, we made a remix to it and we were in a completely different part of life. Our verses were different.

I personally like the remix better. Everybody loves the original better and my wife because she’s like, “That song was about me.” I’m like, “It wasn’t at that time.” She loves the original better but every time I hear the remix, musically and from an artist’s perspective, I love the remix better but many people love the original better than the remix.

Our ladies need definitely to read that they’re fearfully and wonderfully made as Pastor Sizzle said to us. Thank you so much for not only sharing your time with us here on the show. We will be following you all closely as followers and watching the unfoldment of your message. We’re looking forward to following you for many years to come. Not only thank you for spending your time with us but thank you for delivering your message to this world. It’s timely. It’s appropriate. You are truly like the soundtrack of who and what we’re about here at the show. We look forward to having you all back and having you share with us sometime soon.

We’re super excited about coming back in the future as well.

22T 6 | Archie And Sizzle

Archie And Sizzle: It’s important for musicians and artists to create from a perspective or a place they’re actually living in.


Thank you so much A&S or as I say, “Archie & Sizzle are the bomb.” Take care, gentlemen.

Thank you.

That was so much fun. I loved having the opportunity to share with Archie & Sizzle and learn more about their body of work. Not only their creative process but the philosophy behind their work and the messages that they want to transmit to the world. I want to take a moment to reflect because I noticed it and I could feel it in their music but now having the opportunity to talk to them, it is beautiful that they have a real mastery of what the whole spectrum of communication is.

I know one of the things that we talk about here is how communication is both verbal and nonverbal. Ninety-three percent of communication being nonverbal, as a reminder and it’s only 7% of it verbal. The fact that they understand as both dancers and musicians, that they are not only delivering a message of healthy relationships, healthy partnerships and love through their music but also the lyrics and the entire environment that they create as artists. It’s phenomenal.

I love the way that they’re conscious of the way that they understand that they’re not only speaking to those who are dancing but they’re speaking into their relationships, their lives and even more importantly, they’re speaking into their hearts. If you want to learn more about Archie & Sizzle, they curated some playlists for your love month special date night Valentine activities, make sure to visit their website. We’re going to be signing off. As we say here on the show, it not only takes two to Tango but it takes you to Tango.

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About Archie and Sizzle

22T 6 | Archie And SizzleArchie & Sizzle, two musicians, singers, songwriters, and MCs that have been creating and making music for over 15 years, and began focusing on creating Kizomba, Ghetto Zouk, Brazilian Zouk, and Afro Rhythms in 2014. Before focusing on Kizomba, Ghetto Zouk, Brazilian Zouk, and Afro Rhythms Archie & Sizzle were solo artists that have produced a total of over 12 CDs, many music videos, and performed at multiple events solo.

Within the time period that they have been creating music together, they have released 9 singles, multiple music videos, 2 EP’s, one called Airplane Mode and one called Dope-Ish, & a full-length album called Escape. They have performed at many events throughout the US, Canada, Brazil, Mexico, Portugal, & Amsterdam alongside other talented singers such as Elji Beatzkilla, Paulo Mac, Denis Graca, and 2Much.